20190128

SOW Blacksmith ed.1 spotted in the wild as a part of a Novation Circuit Sample Set! Some new entries in the Freesound.org comment page on the collection too. Feels really good to see the pack in use!

Ordered parts for a second Lorre-Mill uTone building session (more on that later – Planning to attach the unit to a 42hp blank eurorack panel). Also got parts for a PMFoundations Clock Divider (Eurorack PCB set). I now have an elementary set of modulation tools in the works. I’ll start compiling the units next month. The uTone will likely be build at Oodi. Odered parts from Digi-Key on Friday and they are already in Helsinki!

Saw dance works at Zodiak. Mira Kautto: Station to Station to Station was a faux-one-person-techno-party, framed as a reminiscence of the traces that past performances had left in the dancers body. Laura Jantunen: Talvi  was a monotonous, repetitive and pattern orientated piece. It placed human bodies and abstract electronic patterns on the same plane. I liked the experience of looking at human movement as a pattern but disliked the academic/neutral-tone of the work. For me the performance felt like a display of the concepts of repetition and patterns, rather then an exploration of them. Kimmo liked work a lot and their text on the piece is a good read THE CIRCUIT I NEED: TALVI, A CHOREOGRAPHY BY LAURA JANTUNEN  (2019) Kimmo Modig.

Also saw Their Limbs Their Lungs Their Legs at TeaK. I enjoyed the views and read the piece as a post-humanism for kids sort of show. The outer forms of the dancer bodies where changed with various disguises. Some parts were very humorous but it didn’t offer new insight to dance.

 

20190123

Busy two weeks. Applied funding from: AVEK, SKR (Uudenmaan maakuntarahasto), Taike and send proposals for HAM gallery and Place Publique.

Also preparing a teaching gig for Kankaanpää Art School. This time we’ll be reading (Communism for Kids by Bini Adamczak, 2014), writing, moving (I’m still on Kettlebells) and voting.

Up next… Updates to my portfolio and electronics (I have a nifty set of eurorack kits in the works). I build a DIY liquid carbonation system and I can now manufacture sparkling water and sodas (currently I have a batch of Ginger-beer in the works). During the weekend I converted white wine to sparkling wine! I plan to manufacture sparkling mineral waters from regional fountains (which can be found using the brilliant loydalahde.com service) and to clone famous mineral waters (such as San Pelligriano) following guides found on the khymos.org blogpost from 2012.

A 10l batch of San Pelligriano clone would require:

Kenen ajalla elät? [On Who’s Time?] (2019) Kimmo Modig. Part 1 of 5. A thoughtful text which investigates the lived experience of people who have to sacrifice their time and to constantly change their pace, to accommodate the falsified idea that contemporary capitalism makes everything available.

Perinnön vaalimista täystuhon äärellä [Protecting Cultural Legacies in the Face of Annihilation] (2018) Anna Jensen. A bright text questioning the motives of cultural preservation. I agree with Jensen but I have to argue that not all narratives need dismantling (previous post) and putting things in the museum (or defining them as UNESCO World Heritage things) is a good strategy for positioning the things to the past, offering them for the gaze of the public (for critical re-evaluation) and nullifying their mythological force (which is the case of the Swastika symbol is a good thing).

The gilets jaunes: Giving colour to suffering (2019) Benoit Bohy-Bunel. The text starts as a rant which is difficult to follow. I only read the chapter 4 titled “Brief remarks on the ‘yellow vests’ movement”, which offers a reading to the reported right-wing elements of the movement: Some parts of the moment are racist, because the nation-state subjectivity (the crisis of which Gilets Jaunes manifests) is rooted on racism.

[…] The racist, homophobic acts present in certain demonstrations, the nationalist, populist, sexist, ableist, anti-migrant and anti-social-assistance speeches, which have met with some success in certain parts of this movement, reflect the crisis of this subject-form and the rise of crisis ideologies.

There are many testimonies of suffering or social anger in this movement. These testimonies directly question the existence of the State and capitalism, with all that they imply (racism, patriarchy, ecological destruction, ableism, ageism). But the translation of this suffering, which is made against the backdrop of the crisis of the subject-form and the diffusion of populist ideologies of crisis, is not systematically emancipatory. What would be properly subversive would be to grasp, collectively and individually, the root of this lived suffering, and the radicality that it designates, so as to counteract the reactive and identity responses to the suffering. Such a capacity is not the privilege of ideologues, even “critical” ones, who would have to “educate” the “people”. Such a capacity eventually develops in the praxis of struggle, which can induce new encounters, new awareness, and new forms of life.

20181113

Good stuff to listen to when fixing the socks of strangers around the world (only 5 pairs to go). We had an open studio event on the weekend at ISCP. I was in a flue for the entire event and sat in the corner darning socks. A hipster complemented my stitchwork. He told me I’d make 300$ for a pair!

Anna Tsing & Donna Haraway: Tunneling in the Chthulucene (2015) University of Idaho, Moscow. A long and loose (in good way) presentation of their thinking. Tsing reminds audiences that non-human life does not live in harmony. Symbioses develop trough violence and struggle. Haraway reminds audiences how multicellular entities form: By single cell organisms attempting to eat each others, partially devouring each others bodies, getting stuck and living together anew.

Imagining infrastructures (2017) The British Academy. A (too) detailed talk about infrastructure. Partially good for developing an understanding of infra as a social, life-supporting network. It starts with an interesting analysis of air-conditioners as colonial apparatuses! The idea that people work best in climate controlled cool environments should be re-evaluated. The negative effect that air-conditioners have on communities was addressed in a recent reading group too. Air-conditioners break communities by endorsing indoor, private comfort for closed families. Manuel Tironi’s account on how communities rebuild after catastrophes is very rewarding too. He suggest that infrastructure should be approached as a social network and a compost (as defined by Haraway).

The Facebook Economy (2018) Zero Books podcast. Douglas Lain chatting with Rob Larson. They work their best to frame Facebook (and others) as monopolies and do a good job clearing out how exactly the monopolies make their profits.

Adventures in New America (2018) an afrofuturistic buddy comedy. A fun and easygoing podcast.

WRITING ABOUT ART TODAY MEANS BEING WRITTEN ONTO (2018) Kimmo Modig. Modig is developing a socio-material analysis of contemporary art-exhibition practices. They pleas for a broader acceptance of social practices (workshops etc.) as a critical medium for artistic expression. Social practices and community-building-as-art is a vital field of practice for groups and individuals, who cannot exist alone. Art practices which center on objects & orchestrated performances, advocate exclusive infrastructures. I would like to extend their critique to problematize material & energy demands object centered & orchestrated performance aesthetics rely on. Using Modigs critique we can argue that Chris Burden was more of an antibiotic artist then a performance artist. He was more hospitalized and medicated, then shot in the arm. #ॐ

Modig offers a diagram Social Anxiety Matrix #2 which can be used for analyzing personal motivations for attending art events. They argues that “Contemporary art has never been about class revolution [the temporal and generational rotation of positions of wealth past classes people are born to], but the cementing of its horizontal power structure while adding a new coat of paint on it.” which I don’t agree with. I believe that artist networks and support structures (grants, residencies etc.) are currently the best (if not only) systems for advancing the temporal and generational rotation of wealth and power. Quotes from the text below.

Public has become the primal form of new art, and exhibition the secondary one. The word public here is a (suboptimal) placeholder for assemblies, collectives, public gatherings, non-patriarchal familial constellations and so forth. […] What was once the fringe program (talks, workshops) is now the headliner. When I look around, I can see some people having not really realized this. Others are angry, even. “Why is art about the other stuff nowadays?” This is another way of saying “I”m white and feel like I can’t get enough exposure.”

Managing a nuanced perspective on things is particularly vexing when you’re feeling overwhelmed by the extreme, life-destroying urgency of climate change, for example. Often, you can catch an artist having gone through these motions and realizing that, say, flying to biennials is bad for the environment and a grueling way to live, too. So they turn their own realization into a dictum and hold everyone up to this standard of their own making.

20180822

Visited Somewhere I’ve Never Been book-reading/NYC-launch event organised by Pool publishing and Steph Kretowicz at the Commend space. Kretowicz talked warmly of her collaboration with Kimmo (on a podcast series based to the book which I mentioned earlier). The event was relaxed but the atmosphere was not cosy. This unfortunately made the text feel introverted and nostalgic. Kretowicz’s interesting idea of using global public-pop-music-performances as a tool for illustrating, the degree by which personal identity building processes differ across the globe; was not explored in detail.

Renewed my monthly membership to Frenchie’s Gym (at 306 Broadway). The place is a gorgeous antique-bodybuilding facility. Majority of the weights and devices are from the seventies and the atmosphere is welcoming (in an edgy way). I haven’t had the stamina to visit the place often but as the weather cools I’ll have more energy for exercise. A blogger by the name of MissfitFinland has made a post about the place in 2014.

It’s not allowed to take photographs at the gym so, at some point I’ll have to spend some time writing about the feel of the place. The gym is on the second floor of a worn brick building, at the level of the M & J train rails, which run over Broadway. The passing trains shove a breeze of air from the windows and their sound cuts trough the constant salsa muzak playing from the radio. People on the train platform peek trough the open windows but it’s dark inside and I doubt that they see us sweating inside. There is no air conditioning.

20180524

Pori Art Museum has published a report on the Creative Commons and Art seminar which I participated in with Kimmo and Kalle Kuisma. My talk is recapped on pages 10-12 and I’m very pleased with my contribution. I claimed that “Artists do not contribute to the commons – They claim phenomenons from the commons” (artists taint phenomena and mark it as their own). I also claim that skills are production tool (for artists) and shed light on the ideological origins of Ore.e Refineries (and the COOL 1.0 license).

Working on our Ihme-days presentation with Heini and Leena, packing stuff in preparation of my New York visit, preparing next weeks Horse & Performance course with Pietari and writing a lecture/presentation for expo2001∞ (organised by Daniel Kupferberg) events at Kunstraum Argh15 (I’ll give “An Introduction to Horselogical thinking” over skype or wire). Aaand.. Learning how to make cheesecake.

Flashed Face Distortion Effect is interesting. Wonder if could be reversed: Images of faces would be distorted so that the faces that flash would appear normal.